Martine Beugnet
Biographic Data
| ID | 758556 |
|---|---|
| NAME | Martine Beugnet |
| GIVEN NAMES | Martine |
| FAMILY NAME | Beugnet |
| SIGNATURE | BEUGNET M |
| AFFILIATIONS | Université Paris Cité |
| ORCID | 0000-0003-3971-3676 |
| VERIFIED | Yes |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 15 |
| WORKS AS AUTHOR | 22 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Super-Conscious Dreams
In Tinseltown and Full Rehearsal are examples of digital found-footage practice that explore the creative potential of the glitch. Featuring Monroe and Mickey, the two films conjure up what Walter Benjamin called figures of a “collective dream”. In his recent work, the artist blasts these two figures open and subjects them to a drastic process of digital decomposition, revealing the inner workings of the imaging system that determines their appea…
Thresholds of vision
Once confined to specific fields of expertise (sciences, medicine, surveillance, the military), operative images have started to populate our screens. In relation to the human body in particular (still the conventional measure and reference in film), there is no denying the capacity of these images to question and renew cinematic forms. In this article, I explore the ways in which operative images extend the boundaries of film aesthetics while tr…
Forensic Audio and Voice Analysis
People's perception of forensic evidence is greatly influenced by crime TV series. The analysis of the human voice is no exception. However, unlike fingerprints-with which fiction and popular beliefs draw an incorrect parallel-the human voice varies according to many factors, can be altered deliberately, and its potential uniqueness has yet to be proven. Starting with a cursory examination of landmarks in forensic voice analysis that exemplify ho…
The Gulliver effect
To scan a memory
LiDAR (Light Detection and Ranging) is a remote sensing technology. It needs no ambient light, nor the guidance of the human eye to capture and reproduce a likeness of the world around us. Although LiDAR generates a constant stream of technical literature, LiDAR images, once envisaged for their aesthetic and expressive value, seem to call for alternative modes of analysis. How do we approach the fast-expanding archive of scanner images? How do we…
Touch and See? Regarding Images in the Era of the Interface
Not only are we now surrounded by a plethora of images that derive from automatic mechanical protocols, “technical images” as Wilém Flusser would call them, but vision itself is controlled by technological processes—manually activated interfaces that condition the appearance of images in terms of size, quality and resolution, as well as duration. Our experience as viewers increasingly become that of “users”: we touch the screen to activate a menu…
Interview with Alejandro G. Iñárritu
Immersive cinematic experiences are not so new; filmgoers wearing stereoscopic glasses are an iconic image of 1950s cinema. The early 1980s saw an immersive renaissance with films such as Jaws 3-D (Joe Alves, 1983), followed by the IMAX cinema boom in the 2000s, and a further revival with the blockbuster Avatar (James Cameron, 2009). It has nevertheless been claimed that we are on the verge of entering an era of true immersion in virtual experien…
Absorbed in experience
Alphaville
Alphaville is a fully peer-reviewed journal edited and published by staff, PhD students and postdoctoral researchers in Film and Screen Media at University College Cork, Ireland. The journal offers a dynamic international forum open to the discussion of all aspects of film and screen media history, theory and criticism
The reflexive turn
International audience
An aesthetics of exhaustion? Digital found footage and Hollywood
International audience
The aesthetics and politics of obsolescence
This article discusses contemporary handmade film-making as a form of critical practice that is now developing within the context of celluloid obsolescence and the frequent proclamations about the waning significance of film in the digital era. Because of its engagement with the materiality of film, artisanal film-making offers itself as a form of metacinematic reflection - film reflecting on the possibility and meaning of its own disappearance a…
Encoding loss
Film Theory
For a field whose original object of study – cinema – is allegedly fast becoming obsolete, film theory has never been more alive and creative. Indeed, what fascinated the early analysts of the moving image is proving equally valuable to today's theorists. At the beginning of the twentieth century, film appeared as modernity's emblematic form of expression of, and one of its foremost loci for, perceptual and conceptual experimentation. That film l…
Chapter 3 The Wounded Screen
A portrait of the twenty-first century
International audience
European Film Noir
The most transnational of genres, film noir is nonetheless, as Andrew Spicer points out in his introduction to European Film Noir, hailed as a quintessentially American genre. While the French and British traditions of noir cinema have gained some recognition recently (not least through citation by contemporary American filmmakers), there has been little comprehensive study of non-American film noir. This collection goes a long way to fill this g…
Re-enchanting the World
Figures of Vampirism
Based on a corpus of recent French films, this article looks at an intriguing phenomenon: the reappearance of the figure of the vampire. Unfettered by spatial and temporal limits, the vampire has always epitomised the inhuman ability (which it shares with cinema) to reproduce and disseminate itself seamlessly. It thus thrives in an era of intensified transnational circulation and deregulated greed. This article suggests, however, that vampirism i…
Gender in French Cinema
Alex Hughes and James S. Williams eds., Gender in French Cinema; Carrie Tarr with Brigitte Rollet, Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990s; James S. Williams ed., Revisioning Duras: Film, Race, Sex Get access Alex Hughes and James S. Williams (eds), Gender in French Cinema. New York, NY and Oxford: Berg, 2001, 256 pp. Carrie Tarr with Brigitte Rollet, Cinema and the Second Sex: Women's Filmmaking in France i…
Nouveau réalisme et politique de l'anti‐spectacle
Y aura‐t‐il de la neige à Noël? est l'un des exemples les plus remarqués du nouveau réalisme qui s'impose dans le cinéma français des années 1990. L'article retrace à grands traits le contexte d'émergence et les caractéristiques de cette tendance avant de se concentrer sur un film qui suscite des interrogations propres à ce type de cinéma. A travers l'analyse de Y aura‐t‐il de la neige à Noël? , l'article explore les implications d'une approche q…
Beau travail
Claire Denis's Beau travail, is a highly stylised adaptation of Herman Melville's Billy Budd, transferred into the world of the French Foreign Legion. This paper traces how, through its highly worked aesthetic, the film illustrates the obsolescence of an ethos: military, patriarchal and colonial. It examines the way the film establishes the Legion as a metaphor for the French colonial project, in its elevation of the ideal of universality and in …
Alphaville
Alphaville is a fully peer-reviewed journal edited and published by staff, PhD students and postdoctoral researchers in Film and Screen Media at University College Cork, Ireland. The journal offers a dynamic international forum open to the discussion of all aspects of film and screen media history, theory and criticism
Thresholds of vision
Once confined to specific fields of expertise (sciences, medicine, surveillance, the military), operative images have started to populate our screens. In relation to the human body in particular (still the conventional measure and reference in film), there is no denying the capacity of these images to question and renew cinematic forms. In this article, I explore the ways in which operative images extend the boundaries of film aesthetics while tr…
To scan a memory
LiDAR (Light Detection and Ranging) is a remote sensing technology. It needs no ambient light, nor the guidance of the human eye to capture and reproduce a likeness of the world around us. Although LiDAR generates a constant stream of technical literature, LiDAR images, once envisaged for their aesthetic and expressive value, seem to call for alternative modes of analysis. How do we approach the fast-expanding archive of scanner images? How do we…
Film Theory
For a field whose original object of study – cinema – is allegedly fast becoming obsolete, film theory has never been more alive and creative. Indeed, what fascinated the early analysts of the moving image is proving equally valuable to today's theorists. At the beginning of the twentieth century, film appeared as modernity's emblematic form of expression of, and one of its foremost loci for, perceptual and conceptual experimentation. That film l…
A portrait of the twenty-first century
International audience
Re-enchanting the World
Figures of Vampirism
Based on a corpus of recent French films, this article looks at an intriguing phenomenon: the reappearance of the figure of the vampire. Unfettered by spatial and temporal limits, the vampire has always epitomised the inhuman ability (which it shares with cinema) to reproduce and disseminate itself seamlessly. It thus thrives in an era of intensified transnational circulation and deregulated greed. This article suggests, however, that vampirism i…
Beau travail
Claire Denis's Beau travail, is a highly stylised adaptation of Herman Melville's Billy Budd, transferred into the world of the French Foreign Legion. This paper traces how, through its highly worked aesthetic, the film illustrates the obsolescence of an ethos: military, patriarchal and colonial. It examines the way the film establishes the Legion as a metaphor for the French colonial project, in its elevation of the ideal of universality and in …
Nouveau réalisme et politique de l'anti‐spectacle
Y aura‐t‐il de la neige à Noël? est l'un des exemples les plus remarqués du nouveau réalisme qui s'impose dans le cinéma français des années 1990. L'article retrace à grands traits le contexte d'émergence et les caractéristiques de cette tendance avant de se concentrer sur un film qui suscite des interrogations propres à ce type de cinéma. A travers l'analyse de Y aura‐t‐il de la neige à Noël? , l'article explore les implications d'une approche q…
Gender in French Cinema
Alex Hughes and James S. Williams eds., Gender in French Cinema; Carrie Tarr with Brigitte Rollet, Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990s; James S. Williams ed., Revisioning Duras: Film, Race, Sex Get access Alex Hughes and James S. Williams (eds), Gender in French Cinema. New York, NY and Oxford: Berg, 2001, 256 pp. Carrie Tarr with Brigitte Rollet, Cinema and the Second Sex: Women's Filmmaking in France i…
Figures of Vampirism
Based on a corpus of recent French films, this article looks at an intriguing phenomenon: the reappearance of the figure of the vampire. Unfettered by spatial and temporal limits, the vampire has always epitomised the inhuman ability (which it shares with cinema) to reproduce and disseminate itself seamlessly. It thus thrives in an era of intensified transnational circulation and deregulated greed. This article suggests, however, that vampirism i…
European Film Noir
The most transnational of genres, film noir is nonetheless, as Andrew Spicer points out in his introduction to European Film Noir, hailed as a quintessentially American genre. While the French and British traditions of noir cinema have gained some recognition recently (not least through citation by contemporary American filmmakers), there has been little comprehensive study of non-American film noir. This collection goes a long way to fill this g…
Re-enchanting the World
A portrait of the twenty-first century
International audience
Chapter 3 The Wounded Screen
Encoding loss
Film Theory
For a field whose original object of study – cinema – is allegedly fast becoming obsolete, film theory has never been more alive and creative. Indeed, what fascinated the early analysts of the moving image is proving equally valuable to today's theorists. At the beginning of the twentieth century, film appeared as modernity's emblematic form of expression of, and one of its foremost loci for, perceptual and conceptual experimentation. That film l…
The aesthetics and politics of obsolescence
This article discusses contemporary handmade film-making as a form of critical practice that is now developing within the context of celluloid obsolescence and the frequent proclamations about the waning significance of film in the digital era. Because of its engagement with the materiality of film, artisanal film-making offers itself as a form of metacinematic reflection - film reflecting on the possibility and meaning of its own disappearance a…
The reflexive turn
International audience
An aesthetics of exhaustion? Digital found footage and Hollywood
International audience
Alphaville
Alphaville is a fully peer-reviewed journal edited and published by staff, PhD students and postdoctoral researchers in Film and Screen Media at University College Cork, Ireland. The journal offers a dynamic international forum open to the discussion of all aspects of film and screen media history, theory and criticism
Touch and See? Regarding Images in the Era of the Interface
Not only are we now surrounded by a plethora of images that derive from automatic mechanical protocols, “technical images” as Wilém Flusser would call them, but vision itself is controlled by technological processes—manually activated interfaces that condition the appearance of images in terms of size, quality and resolution, as well as duration. Our experience as viewers increasingly become that of “users”: we touch the screen to activate a menu…
Interview with Alejandro G. Iñárritu
Immersive cinematic experiences are not so new; filmgoers wearing stereoscopic glasses are an iconic image of 1950s cinema. The early 1980s saw an immersive renaissance with films such as Jaws 3-D (Joe Alves, 1983), followed by the IMAX cinema boom in the 2000s, and a further revival with the blockbuster Avatar (James Cameron, 2009). It has nevertheless been claimed that we are on the verge of entering an era of true immersion in virtual experien…
Absorbed in experience
The Gulliver effect
To scan a memory
LiDAR (Light Detection and Ranging) is a remote sensing technology. It needs no ambient light, nor the guidance of the human eye to capture and reproduce a likeness of the world around us. Although LiDAR generates a constant stream of technical literature, LiDAR images, once envisaged for their aesthetic and expressive value, seem to call for alternative modes of analysis. How do we approach the fast-expanding archive of scanner images? How do we…
Forensic Audio and Voice Analysis
People's perception of forensic evidence is greatly influenced by crime TV series. The analysis of the human voice is no exception. However, unlike fingerprints-with which fiction and popular beliefs draw an incorrect parallel-the human voice varies according to many factors, can be altered deliberately, and its potential uniqueness has yet to be proven. Starting with a cursory examination of landmarks in forensic voice analysis that exemplify ho…
Thresholds of vision
Once confined to specific fields of expertise (sciences, medicine, surveillance, the military), operative images have started to populate our screens. In relation to the human body in particular (still the conventional measure and reference in film), there is no denying the capacity of these images to question and renew cinematic forms. In this article, I explore the ways in which operative images extend the boundaries of film aesthetics while tr…
Super-Conscious Dreams
In Tinseltown and Full Rehearsal are examples of digital found-footage practice that explore the creative potential of the glitch. Featuring Monroe and Mickey, the two films conjure up what Walter Benjamin called figures of a “collective dream”. In his recent work, the artist blasts these two figures open and subjects them to a drastic process of digital decomposition, revealing the inner workings of the imaging system that determines their appea…
Art (17 works) · Cinema and Media Studies (14 works) · Computer Science (11 works) · Art history (10 works) · Movie theater (10 works) · Aesthetics (9 works) · Sociology (9 works) · Visual arts (9 works) · History (6 works) · Literature (5 works)